Since the advent of the music keyboard in the 14th century, little about its basic structure has changed. The keyboard generally has remained long, relatively straight, and supported in a horizontal or near horizontal fashion to be played by one or both hands. Representative keyboard instruments have ranged from those that are played from a seated position such as the piano, harpsichord and modern synthesizer, to those typically played while a musician is standing, e.g., the melodica and accordion.
In perhaps its most common form, i.e., the classic piano design, the keyboard comprises a single, superimposed row of alternating black and white keys, e.g., eighty-eight (88) keys in total, the keys corresponding to consecutive octaves of music notes A through G major and minor, respectively. By classic piano design, such keyboards are typically supported in a horizontal fashion so that a musician may readily operate the same, either from a seated position in front of the keyboard or by standing or leaning over the keyboard. While this arrangement has long been used with relative success in playing and composing music, melodies that can be created and the expressiveness of the musician have generally been limited to what can physically be done from one of these two positions. Similarly, their relative size, shape and configuration have restricted the number of pianists that can practically fit in front of the keyboard and play the same.
According to various modern approaches, the classic piano type keyboard has been adapted to pneumatically driven and/or electronic pipe organs, electronic synthesizers and, most recently, the MIDI (or Musical Instrument Digital Interface) keyboard controller and hand-held synthesizer, and the wearable MIDI keyboard controller. Such controllers are commonly provided with piano style keys as well as switches, buttons, continuous type controllers (e.g., rotatable knobs and turn wheels), input/output connectors and a MIDI interface. The interface, for instance, comprises female 5-pin DIN connectors for signal IN, OUT or THRU-put. Alternatively, MIDI signals are adapted to flow in and out of controllers via USB (or Universal Serial Bus) connectors linked to computers or other USB cable-equipped devices. An advantage of USB connectors is that they allow signals to flow in both directions simultaneously via a single cable, while providing power to the controller in lieu of other power supplies.
The keys of such keyboards are typically equipped with electronic pressure sensors including NOTE ON, NOTE OFF, velocity and after-touch pressure. Typically, the MIDI controller either (i) has an internal sound module (e.g., a built-in synthesizer) for sound production, (ii) enables connection of the controller to external sound modules, other controllers, computer hardware and/or software for sequencing and sound enhancement, or (iii) has both internal and external arrangements for the same. Where an internal sound module is provided, in addition to standard MIDI connectors (for IN, OUT and THRU-put) or other MIDI connections, e.g., USB, output connectors are provided for output of audio signals, whereas the input connectors may be used for audio input and/or output or other signal-related data. An objective is to allow connection of other external controllers such as foot pedals, breath-controllers and/or other ON-OFF and/or continuous controllers for controlling output signals and/or data.
Like the piano, this keyboard arrangement is oriented horizontally such as on a stand or table. Alternatively, it is placed in a near horizontal orientation, e.g., strapped over the musician's shoulder like a guitar. In the horizontal orientation, the apparatus is played like a piano. In the near horizontal position, on the other hand, the musician plays the instrument with one hand while the other hand is free for operating the switches, buttons, knobs, etc.
Although workable for some applications, conventional MIDI keyboard controller arrangements allow the musician to play the keyboard with only one hand, the other hand being used merely to control various buttons or knobs for manipulating characteristics of sounds to be generated. Accordingly, not only does it restrict the complexity of music and accompaniment that can be played, but also the freedom and expressiveness with which one composes and performs music. Stated differently, the melodies that can be created and the expressiveness of the musician are limited to what physically can be done given the orientation, size and shape of the keyboard and its proximity to the user. Moreover, there is a physical limit on the number of musicians that may be involved in playing a single keyboard instrument.
A keyboard instrument is, therefore, desired that enables a musician to use both hands when playing, even when the keyboard is in a non-horizontal position but without placing either hand in an awkward position, so that the instrument may be worn and played with a new level of expression not previously achievable using a keyboard instrument.